;S PLAYWRIGHT S£RI£S = 



PS 635 
.29 C73 
Copy 1 



1 



NO 
SABE 



By Elisha Cook 



* 



A\ 



TH£ DRAMATIC PUBLISHING COMPANY 



SERGEL/S PLAYWRIGHT SERIES 

EDITED BY ALICE GERSTENBERG 



NO SABE 



BY ELISHA COOK 



< 






The Dramatic Publishing Company 
CHICAGO 






TiOTlCE 



T* 



.HIS PLAY is fully protected by 
copyright, and all rights are reserved, in* 
eluding those of mechanical presentation, such 
as by moving picture, taking picture, or radio 
broadcasting. It may be presented by ama' 
teurs upon the payment of a royalty of ten 
dollars for each performance, payable to The 
Dramatic Publishing Company, 542 S. 
Dearborn St., Chicago, one wee\ before the 
date when the play is to be given. Professional 
and other rates will be quoted upon inquiry. 
Whenever the play is given, the following 
notice must appear on all programs, printing, 
and advertising for the play: "Produced by 
special arrangement with The Dramatic 
Publishing Company, of Chicago, Illinois. 

COPYRIGHT, 1917, BY ELISHA COOK 
COPYRIGHT, 1930, BY HELEN H. COOK 

All rights reserved. 

MADE IN THE UNITED STATES OF AMERICA 



©ClDpub. 462 

JAN ~2 1931 



TMP92-008917 



FOREWORD 



ELISHA COOK was born in San Francisco, September 
26, 1869, and died in Chicago, December 22, 1922. His 
name awakens memories of pioneer days in the little 
theatre movement of Chicago, because he took over what was 
the Little Theatre started by Maurice Browne in the Fine Arts 
Building and called it The Philistine, after the draft of war 
scattered the forces of that enthusiastic band of writers, players 
and stagecraft workers who had been making productions such 
a success in Elizabeth Bingham's studio, called "The Player's 
Workshop" on East 57th Street, Chicago. An article in the 
Theatre Magazine for September, 1917, gives an account of what 
the Player's Workshop was. 

There "No Sabe" came to light with Elisha playing the part 
of the Chinaman, Wo. His slight figure, his excellent "makeup", 
the humanity of his interpretation, the sincerity of it, the 
pronunciation by lips that were mobile, and no tell'tale infor- 
mation by eyes that were stoical, with a final vibration in the 
voice, "You — you — no — can — sabe," which lifted the entire 
play into a spiritual significance — these have not been forgotten 
with the passing of years by those who were thrilled by that 
first performance. 



The play was later presented in vaudeville by Miss Carol 
Kohl, on the Orpheum Circuit. It had an elaborate stage setting, 
Chinese in atmosphere to suggest the Major's interest in such 
decoration, but the original script, which called for an American 
interior, has more force because it leaves Wo the dominant and 
only Oriental note. 

Wo should be played by a small, wiry man; the Inspector by 
one tall and muscular, for contrast. Wo never raises his voice, 
is usually smiling and suave, except when he gets angry at the 
third degree beating. In the scenes with Lettie he is all tender* 
ness. The knife blade must be placed in Wo's Chinese wig where 
the hair braid begins. It is best to place it there just prior to 
Wo's entrance before the scene where he produces it. The shirt 
is wrapped about Wo's body under his Chinese jacket. His 
costume should be the plain white worn by the old'fashioned 
Chinese servant in the better class American homes. 

As the final line is the summing up of the meaning of the 
play, Wo must stand centre and alone, without being touched 
by the officers, although the Inspector is to his right and the 
Sergeant to his left. Not a movement must be made by any of 
the players after their last lines; they hold position while Wo 
makes his statement, "You — you no can sabe," with a quality 
of voice which seems to send his very soul into the beyond. 

Elisha Cook, all his life, was interested in the theatre. When 
he was seven years old he built a tiny theatre in his home, wrote 
plays for it and had them played by his characters (puppets). 
He was a remarkably clever actor but ill health prevented his 
using that talent professionally. A business man by day, he 



became at night an ardent little theatre worker, actor, writer, 
director. In this he had the helpful cooperation of his wife, 
Helen, and of his sons; his namesake is now an actor on the 
professional stage. 

In spite of the physical strain of these two activities, business 
for money and art for love, he never complained and was always 
ready with a gracious word, smile, joke for every one who came 
his way. There is no doubt that his tireless, unselfish and en- 
thusiastic pioneering shortened his life span. 

His work is still remembered by those whom he directed at 
the Coach'House and his playing of a part in the first play pro- 
duced by The Playwrights' Theatre of Chicago in 1922 links him 
to that group which in 1930 has sought out the manuscript for 
revival and publication because time has proved that "No Sabe" 
still lives, and valiantly! In memoriam. 

ALICE GERSTENBERG 



NO SABE 



Produced by 

The Player's Wor\shop, East 57th St., Chicago, 1917, 

under the management of Elizabeth Bingham, with 

the following cast: 

CHIEF INSPECTOR OF POLICE . . Harold Swartz 

LETTIEFAIRBAHKS Helen Cook 

GEORGE STEWART . . . George Francis Wolff 
SERGEAHT OF POLICE .... W infield Carnegie 
WO,CHIHESESERVAHT .... ElishaCoo\ 

Place: Morning in the Fairbanks' home after an all night 
police investigation. 

Time: The present. 

Produced by The 
Playwrights' 1 Theatre of Chicago, 1930, under the direc- 
tion of John H. Stambaugh, with the following cast: 

CHIEF INSPECTOR OF POLICE . Clifford Manthorne 

LETTIE FAIRBANKS Margaret Carr 

GEORGE STEW ART .... John H. Stambaugh 
SERGEANX OF POLICE .... Arthur Gauchat 
WO.CHIHESESERVAHT . . . Gerald A. Fran\ 



NO SABE 



[CENE: Morning in the Fairbanks' home after an all night 
police investigation. Lettie, beautiful in an evening gown, 
but fatigued and wan, droops in a large easy chair down left. 
There is a small table to her left. George, attractive in a tuxedo, 
but without his coat, sits moodily on a couch at right, his head in 
his hands, his attitude one of weariness and despair. There is a 
small table to the right of the couch, front. There is a door at left 
and one at bac\ right, and one at right. Windows at bac\ if win' 
dows are conveniently managed. Bac\centre is a library table. The 
Sergeant of Police is sitting on a chair at the left end of the table, 
his feet upon the table. He is in his shirt sleeves and is smoking a 
blac\ cigar. He loo\s rough and strong. 

At Rise of Curtain, the Chief Inspector, also rough loo\ing, 
muscular and tall, is wal\ing toward the table at bac\ as if to 
sha\e ashes from his cigar; he wheels around, coming bac\ at 
Lettie as if to complete the long gruelling examination. The atmo' 
sphere is one of sorrow, and the fatigue of exhaustion.} 
INSPECTOR. A few more questions, Miss Fairbanks, and I'm 



NO SABE 

through with you. You say that your father was lying on the 

library couch with his head toward the door, when you dis' 

covered he had been killed? 

LETTIE. Yes. 

INSPECTOR. Other than one chair overturned, you noticed no 

disorder of the room? 

LETTIE. None. 

INSPECTOR {snapping}. What made you go in there? 

LETTIE. I always did, every night, after George left me in the 

garden. 

INSPECTOR. You're sure there's no other reason? 

GEORGE. You've asked that five times. 

INSPECTOR. Shut up! {To Lettie.1 No other reason? 

LETTIE.No. 

INSPECTOR. Where was George? 

LETTIE. I've told you over and over again that he left me at the 

garden gate, to go home. 

INSPECTOR. How long did you remain in the garden with 

George, after his mysterious visit in the house? 

LETTIE. There was no mystery in his visit to the house. 

INSPECTOR. Answer my question. 

LETTIE. About an hour. 

INSPECTOR. See anyone else in that time? 

LETTIE. No one. 

INSPECTOR. Could anyone have passed in without your sec 

ing them? 

LETTIE.-No. 



10 



NO SABE 

INSPECTOR. Did George make a practice of leaving you alone 
in the garden and coming into the house? 
LETTIE. This was the first time. 

INSPECTOR. And you have no other explanation of this un* 
usual trip of his into the house last night, nothing but that 
cock'and'bull story you've told me about you two thinking it 
would be fun to see if George could sneak by your father up to 
your room and bring out your wrap? 
LETTIE. That is the truth. 

^Inspector laughs sarcastically. Sergeant laughs with Inspeo 

TOR.l 

GEORGE. Of course it is. 

SERGEAHT {to George]. Haven't you had enough? 

INSPECTOR. Do you recall the date that you first met 

George Stewart? 

LETTIE. It was just before my mother died, about eight years 

ago. 

INSPECTOR. How long have you been in love? 

LETTIE. We've been engaged five years. 

INSPECTOR {violently}. Don't lie. How could you be engaged, 

when Major Fairbanks positively forbade it? 

LETTIE. Well, we were. 

{[Inspector laughs sarcastically and Sbrgeant joins him in 
laughter.} 



ii 



NO SABE 

INSPECTOR. For the last five years you have met George 

secretly and disobeyed your father? 

LETTIE. Yes. 

INSPECTOR. And now your father lies in there, murdered, 

directly from this. 

GEORGE [jumping to his feet}. By God 

INSPECTOR {slowly rising and facing him}. Sit down. I'm 
through with your examination. The less you say now, the 
better for you. 

[George sits.} 

INSPECTOR. Are you proud of your meetings now? 

LETTIE. There can be no connection between my love for 

George — and this — awful — murder. 

INSPECTOR. Is that so? {Brutally.} It's the direct cause. If you 

had obeyed, Major Fairbanks would be alive this morning. 

GEORGE. You have already tried and convicted me. 

INSPECTOR. You're our man. {To Lettie.J Now, Miss Fair' 

banks, I once more warn you to think seriously before replying: 

Are you certain that George's religion was the only thing your 

father had against your marrying him? 

LETTIE {after a pause}. It was his religion, only. 

INSPECTOR. You positively know of no other reason? 

LETTIE. There was none. 

INSPECTOR {explodes}. Then why didn't you respect your 

father's command? 

LETTIE. I love George. 



12 



NO SABE 

INSPECTOR [sneering}. How much? [Laughs.} 
|Sergeant laughs after the Inspector.! 

GEORGE. This is damnable ! 

IHSPECTOR [to George}. Yes. When the full truth about you 

two comes out in the papers it won't make pretty reading, will 

it, now? 

GEORGE. All night long you have grilled and insulted, grilled 

and insulted. You're a disgrace to your uniform. 

IHSPECTOR. Murderer! 

|George leaps to his feet, rushes at Inspector and strides him. 
Sergeant jumps to aid Inspector and holds George. In the 
struggle they handcuff George.]} 

IHSPECTOR. The handcuffs fit! Oh ! Oh! A violent temper, eh? 
LETTIE. You brute. 

INSPECTOR. Five years of denial and then came your oppor' 
tunity — and you took it when you sneaked into the house pre- 
tending to your sweetheart you were only playing a game! 
[Pointing off right.]} You can cool off in there. 

|Sergeant pushes George off stage bac\ right. He returns at once 
and stands before the door to guard it.} 

LETTIE [wheeling to Inspector]. This is a highhanded outrage! 
You have no more evidence that George killed my father than 
that I did! 
INSPECTOR. We have enough. When he produces the rest of 

•*• 13 



NO SABE 

this shirt that he admits belonged to him flhoJdmg up torn collar 
band} and he shows us that this collar band which was clutched 
in the Major's dead fingers doesn't fit that shirt — we'll let him 
go. {Laughs and sits down on couch at right. Sergeant laughs 
after Inspector.! 

|Wo, a small wiry Chinaman with a queue, and dressed in the 
plain white worn by the old-fashioned Chinese servants in 
American homes, enters from right, carrying a tray with four 
plates of grapefruit. He crosses the stage and comes to 
Lettie's left, putting a plate for her upon the little table. His 
pronunciation is "pidgeon English". \The "a" in "sake" is li\e 
the ' V in "art".} 

WO. Glape flute? 

LETTIE. Oh, Wo, I can't eat. 

WO. Sure, Missey Lettie — eatem little bleakfast. Talkee, talkee 

all night policeman — no bleakfast, no good. Little glape flute. 

Please, Missey Lettie — little glape flute. Allee samee plenty 

juicy — see? {Squeezes grapefruit.} Put little sugar down, makem 

heap good. Please ! {Offers her a spoonful of the juice.} 

{Lettie smiles and ta\es grapefruit.} 

WO fpatting her on head}. Nicey little Lettie. {Crosses to In' 

spector.J Glape flute? 

INSPECTOR f taking some}. Sure, boy. That'll be fine. 

fWo offers Sergeant grapefruit.} 
14 ~« 



NO SABE 
SERGEANT. You don't have to coax me. 

fWo gives grapefruit to Sergeant, then crosses bac\ to Lettie 
and whispers to her.} 

IHSPECTOR. What's that? 

LETTIE. He asked for George. 

IHSPECTOR. What's it to you? 

WOflhoJding up plate of fruit}. Him Georgie glape flute. Georgie, 

Lettie, allee same my baby. Where Georgie? Catchem, give 

glape flute. 

IHSPECTOR. He's cooling off. Leave it on the table. 

WO. Oh '.Him hot—eh! 

[Wo places fruit on table and exits to kitchen at right.} 

IHSPECTOR {watching him as he leaves}. Sergeant! Have you 

run down his alibis? 

SERGEAHT. Yes, sir. At five o'clock this mornin'. They're 

o.k. 

INSPECTOR. How many? 

SERGEAHT. He was at the four places he gave me. 

INSPECTOR. No doubts? 

SERGEANT. None at all, sir. 

LETTIE. Surely, you can't suspect Wo? 

INSPECTOR. Why not? 

LETTIE. Wo? He was father's slave. He worshipped him like 

a big dog. 

INSPECTOR. How long has he been with you? 



NO SABE 

LETTIE. As long as I can remember; twenty 'five years. 

INSPECTOR. Nevertheless, for the last five years he has fooled 

the Major by playing watchdog for you and your lover in the 

garden. 

LETTIE. He would do anything I asked. He'd cut off his hand 

if I asked it. He'd have done the same thing for my father. Father 

saved his life when Wo fell from a ship in China and Wo nursed 

my father through two long fevers. They worshipped each 

other. 

INSPECTOR. Sergeant, when is the inquest? 

SERGEANT. At twelve o'clock, sir. 

INSPECTOR {rising and putting on his coat and cap]. I don't 

think there's nothin' more for me to do 'round here. 

SERGEANT {putting on his coat and cap and pointing at door 

he is guarding}. How about him, sir? 

INSPECTOR. He's our man. Hold him. 

{[Wo, carrying tray of coffee and toast, enters from right, crosses 
to Lettie and whispers to her.} 

INSPECTOR. What's that. 
LETTIE. He wants to know where George is. 
INSPECTOR. None of your meddling business. 
WO. Georgie no hab got coffee, no hab got glape flute. 
INSPECTOR. He's in that room. 

fWo starts to go into room where George is.} 

SERGEANT {prevents him}. On your way! 

16 ~- 



NO SABE 

WO. He tellee me can go in ! 

IHSPECTOR. Come here ! 

WO {grinning to Sergeant]}. You no can hear? Him callem you. 

IHSPECTOR. No, you. 

WO {comes down}. Me? {Innocently.} 

IHSPECTOR. Yes, you come here. Put that coffee on the table. 

fWo puts coffee on table at centre.} 

IHSPECTOR. What's your worry about George? 

WO. Whash'a mailer Georgie? 

INSPECTOR. I was right, eh? It's not the breakfast that's on 

your mind. So you have some reason to think that there might 

be something the matter with him? {To Sergeant.]} You sure of 

his alibis? 

SERGEAHT. Positively, I looked into 'em myself. 

INSPECTOR [to Wo]}. What do you know about this case? 

WO. Me? No sabe nodding. f'Sabe" is pronounced in two 

syllables.} 

IHSPECTOR. You don't know nothin', eh? You he. 

WO. No lie. 

INSPECTOR. I've had lots of you heathen Chinks to look into 

and I know your tribe like a book. The Major was the best 

friend you had on earth. You've stuck, twenty-five years. No, 

you never killed him — but I believe you know just how 'twas 

done, and by God, I'm going to get it out of you. Sergeant, take 

Miss Fairbanks from the room. 

LETTIE. You have no right to bully that man. 

~- 17 



NO SABE 

f Sergeant bac\s Lettie, resisting, off left, closes door and returns. 
Inspector, at right, ta\es off his coat and glances at the Ser' 
geant. Sergeant, at left, ta\es off his coat and glances at the 
Inspector. Wo stands centre, glancing from one to the other 
in a realization that they are going to third degree him, hut with' 
al there is no cringing in his Chinese inscrutability. The timing 
of action in the play is very important. Pauses are very effective; 
the sustaining of suspense is helped by feeling a certain rhythm 
of emotion in the play. All business must be clean cut, definite 
and timed.} 

INSPECTOR {holding Wo by Fits collar}. Now then, out with it 
— what do you know? 
WO. Me? No sabe. 
IHSPECTOR. Come across! 
WO. Wha' you mean, come 'closs? 

INSPECTOR I shading finger under his nose}. Don't try to fool 
with me. Come across with what you know. 
WO. Me? No sabe. 

INSPECTOR. You won't understand, eh? If you no sabe me 
again, I'll crack every bone in your yellow skin. {Ta\es collar 
band from table, centre, and holds it before Wo's nose.} Do you 
know that shirt? 
WO. No— sa- 
il NSPECTOR clenches fist before Wo's nose.] 
WO. No. Me no know him. 
18 ~ 



NO SABE 

INSPECTOR {taking \nife from table, centre, and holding it be 

fore Wo]}. Do you know that knife? 

WO [seizing \nifej. Sure. Him Major Fairbank duck knife. 

Blakee! Oh! Wha' fo' blakee? 

INSPECTOR. Do you know where the handle of it is? 

WO. No. 

INSPECTOR. This blade was broken off short in the Major's 

heart. This shirt band was clutched in his dead fingers. 

WO. Me no sabe. 

INSPECTOR. You He. 

WO. No lie. fSha^es head and answers violently.} 

INSPECTOR. What time did you leave this house last night? 

WO {very quickly}. Eight o'clock. 

INSPECTOR. So— just like that— eight o'clock. All ready for 

that question, wasn't you? That's too quick to be true. Where 

did you go? 

WO. Chinatown. 

IHSPECTOR. Where? 

WO. Sing Fat stlore. 

IHSPECTOR. Who did you meet? 

WO {fast}. Lem Wang. Sam Wah. Sing Fat. 

Inspector Joofc at Sergeant for verification of alibi. Sergeant 
nods head, '"all right".]} 

INSPECTOR. What did you do? 
WO. Talkee. 
IHSPECTOR. Then? 



19 



NO SABE 

WO. Play. 

INSPECTOR. Then? 

WO. Talkee. 

INSPECTOR. Then? 

WO. Hab tea. 

INSPECTOR. Then? 

WO. Talkee. 

WSPECTOR.Thenl 

WO. Hab more tea. 

INSPECTOR {in a rage}. Don't make a fool of me! I mean, 

when you got through at Sing Fat's store, what did you do? 

WO. Go by Sing Lem place. 

INSPECTOR. What for? 

WO. Play fan-tan. 

INSPECTOR. How long? 

WO. One o'clock. 

INSPECTOR. Then? 

WO. Go by Hop Lunk place. 

IHSPECTOR. What for? 

WO. Smokee. fSmiies.l 

{[Inspector loo\s over at Sergeant for verification of alibis. Ser* 
geant nods that the> are all right. J 

INSPECTOR. Then? 
WO. Go home. 
INSPECTOR. Where? 
WO. Here. No got other home. 



20 



NO SABE 

INSPECTOR. From start to finish that yarn is a heathen lie. 

{Shades fist under Wo's nose.} Out with it, now ! What do you 

know about this murder? 

WO. Me? No sabe. 

INSPECTOR. For the last time: Whose shirt does this collar 

band belong to? [ Holds collar band before Wo's nose.} 

WO. No sabe. 

INSPECTOR. Whose? f Slaps him across the face.} 

WO. No sabe. 

INSPECTOR {slapping him across other side of face}. Whose is 

it? 

WO. No sabe. 

INSPECTOR {striking him with full fist}. You lie. 

ftWo clenches fist in fury. Sergeant seizes his arms. Wo swears 
in Chinese and leaps at Inspector.]} 

INSPECTOR. Grip him! 

|Sergeant grabs Wo and then bends Wo's arms cruelly bac\ be 
hind and levers his Mnee into the middle of Wo's bac\, holding 
him as in a vice. Inspector searches Wo from head to foot — 
into poc\ets, up trouser legs, even taking off his slippers and 
loo\ing into them.} 

IHSPECTOR. I'm an old fool to think a Chink would carry 
evidence around on his person, fin sudden fury he doubles fist 
violently under Wo's nose and holds \nife blade up before him 
again.} 



21 



NO SABE 

{[Sergeant braces Wo even further bac\ y hurting him cruelly.} 

INSPECTOR. This is your last chance. Where's the handle of 
this knife? 
WO. No sabe. 

{Inspector strides him viciously. Sergeant lets him fall and \ic\s 
him as he lies on the floor.} 

INSPECTOR. What's the use trying to get under his skin? Be- 
tween us, there's four thousand years of a different way of think' 
in'. All right, Wo, me boy. I'm sorry — but it's a way we have. 
WO {[fiercely]}. All lightee, all lightee ! {Bac\s away from them up 
to right rear corner. Ta\es slippers and mutters in Chinese as he 
goes down left to put his slippers on.} 
INSPECTOR {to Sergeant]}. Call Miss Fairbanks in. 

|Sergeant brings Lettie in from left.} 

INSPECTOR. Is the wagon here? 
SERGEANT. Yes, sir. 
INSPECTOR. Bring the prisoner down. 

{[Sergeant brings George in from bac\ right, still handcuffed.} 

INSPECTOR. Take him to the City Jail and hold him. I'll see 
that the inquest charges him with it. 

LETTIE {[running up to George, but spea\ing to Inspector]}. He 
didn't do it. 



22 



NO SABE 

GEORGE {as Lettie stands a moment close to him}. It will clear 
itself. 

{[Sergeant pushes Lettie aside and leads George toward right 
door. Wo steps before them as they are about to leave. He points 
to handcuffs.} 

WO. Wha' fo? 

INSPECTOR. Why— you miserable little yellow {Very 

suavely.} Oh, Wo — he killed Major Fairbanks. 

WO. No. 

INSPECTOR. Oh, yes he did, Wo. He murdered your best 

friend. 

WO. No. Georgie mally Lettie. 

INSPECTOR. Not today, my boy, George won't marry Lettie. 

He's going to jail. We're going to hang him by the neck till he's 

dead. 

WO. No can do. 

INSPECTOR. But— we will. 

WO. Georgie — no killem Papa. 

INSPECTOR. I thought I'd make you speak. {Violently.} Who 

did, then? 

WO {loo\s helplessly from George to Lettie; then fixes his eyes on 

her}. Me talkee Miss Lettie alone. 

LETTIE. What is it, Wo? 

INSPECTOR. Any talkee you're going to have with Miss 
Lettie, you're goin' to have in my presence. 
WO. No. 



23 



NO SABE 

INSPECTOR. Yes. 

LETTIE. Inspector, if he wants to talk to me alone, why 

shouldn't he? All he has to do is to wait until you've gone. 

WO. No can wait. Talkee now. No can take. Georgie mally 

Lettie. 

GEORGE. He may know something. 

INSPECTOR. No. 

WO. Missey policeman, me talkee Missey Lettie alone — me 

sabe. Me no talkee Missey Lettie alone — me no sabe. 

INSPECTOR. Oh, that's it, eh? Talk alone and you know some 

thing? 

WO. You sabe. 

INSPECTOR. I'll give you five minutes. 

^Inspector, George and Sergeant go out bac\right.} 

WO {goes to Lettie who is drooped again in the big chair at left}. 

Missey Lettie, you mally Georgie? 

LETTIE. What, Wo? 

WO {crosses to the door to ma\e sure they are not listening and 

crosses bac\ to Lettie]}. You tellee for me. You catchem mally 

Missey Georgie? 

LETTIE. Yes, Wo — I'm going to marry George. 

WO {pic\ing up Bible from table at centre}. Here. Allee same 

'fore your God, on your good book you swear — you mally 

Georgie. {Opens Bible and holds it up to her.} 

LETTIE. What, Wo? 

WO. Swear. 



24 



NO SABE 

LETTIE {staring at him, slowly places hand on boo\. He closes 

boo\ on her hand}. I swear. 

WO {puts boo\ on table at centre}. Heap good. Me sabe plenty. 

LETTIE. Tell me, Wo. 

WO. Papa live — you no can mally Georgie. 

LETTIE. No. 

WO. Papa dead now. 

LETTIE. Yes. 

WO. You God lite down in big book for you — Georgie must get 

mally. My God lite down my big book, when you, Georgie 

catchem mally, me allee same must die. You sabe? 

LETTIE. If we marry, you must die? 

WO. You no happy — wha' fo" me die? You no can mally 

Georgie, you no can catchem happy. 

LETTIE. I don't see 

WO. Twenty 'five year go by — you little baby. You lidee horsey 
allee same my foot. Then you glow, big baby. You lidee horsey, 
allee same my back. 

fLETTm smiles sadly.} 

WO. Pletty soon you no more baby, you little girl. Me play 
allee time game for you. Me cook allee time cake for you. Then 
you catchem glow big girl — me allee time makem you happy. 
By'm'by you glow up. You dlessy glow down. You young lady. 

[Lettie smiles sadly.} 

WO. Heap pletty young lady. 

— 25 



NO SABE 

LETTIE. Dear old Wo! 

WO {suddenly intensely serious}. Bym'by likem you God lite 

down you big book for Georgie must come — Georgie him come. 

LETTIE. Yes, Wo— it is fate. 

WO. Sure, Missey Lettie, him allee same fate. You heap much 

lub Georgie. Georgie him good boy, he heap lub you. 

LETTIE. How you have helped us, Wo! 

WO {goes to door to listen again and returns}. Papa, him say no. 

Me, say yes. Papa live, you no can mally Georgie. Papa dead 

now. 

LETTIE. Wo? 

WO. You sabe? Papa lib, you no can hab got Georgie. Papa dead 

now. 

LETTIE {rises}. Wo! You don't mean 

WO. Me, me — killem Papa. 

LETTIE {shrinking away from him}. How could you? 

WO. Me Chinese. Me can catchem make you heap much happy. 

Me no schare for die. My God — lite down my big book — me 

must die, allee same makee you happy. Me Chinese. Me no can 

catchem you — {His voice brea\s with emotion. 1 but — you sabe — 

me allee same man — me lub you ! 

|Lettie gives a cry and faints into the chair.} 

WO {runs for aid}. Quick — Missey Lettie catchem faint 

{The others reenter \ having heard the cry.} 

WO. Missey Georgie — quick — helpee — you helpee up. 

a6 ~ 



NO SABE 

{George, still handcuffed, runs to help Lbttie. Lethe revives 
and clings to George and stares at Wo with pity and sadness.} 

INSPECTOR. What's the meaning of this? 

WO {has pulled himself together and withdrawn into his Oriental 

shell. He ta\es centre. To Inspector]}. Melican policeman — allee 

same damn fool. {Suddenly he holds his shirt above his head expos, 

ing his stomach, about which, tightly wound, is the missing shirt 

torn into a long ribbon .J 

INSPECTOR fat right of WoJ. George's shirt! How did you 

get it? 

[Inspector and Sergeant unwind it from Wo's body.} 

WO. Georgie allee time give me him ol' clothes. 

{Inspector and Sergeant match cellar band to shirt.} 

SERGE AJvT [left of Wo}. It fits. 
INSPECTOR. That's it. 

{Wo slowly draws from his braided queue the handle of the Hpii/e 
and in his palm holds it out to the Inspector.} 

INSPECTOR. The knife handle! {Grasps Wo by the shoulder .} 
You're under arrest. So you killed the Major! Man! He was the 
best friend you had on earth ! Why did you do it? 
WO. Hum! — |He pauses. Suddenly he fears Lettie may also not 
understand why. He gazes at Lettie.J Missey Lettie — you sabe? 
LETTIE {sadly}. Yes, Wo. Me sabe. 



27 



NO SABE 

WO lloo\s around at the others and then centres on the Inspector; 
he loo\s him over from head to foot in complete contempt}. Tou — 
you — no — can sabe ! 

QUICK CURT AIH 



28 



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